AMIRA

Go anywhere, shoot anything

AMIRA - The perfect tool for your job

AMIRA is a truly versatile camera that combines exceptional image quality and affordable CFast 2.0 workflows with an ergonomic design optimized for single-operator use and extended shoulder-mounted operation. Ready to pick up and shoot straight out of the camera bag, AMIRA is hardy enough to take anywhere and features in-camera grading with preloaded 3D LUTs, as well as 200 fps slow motion. The AMIRA ARRIRAW License Key enables in-camera 16:9 2.8K (2880 x 1620) MXF/ARRIRAW recording at frame rates of up to 48fps.

It is suitable for a great variety of production types, from TV drama and low-budget movies to nature films, sports coverage, commercials, reportage, branded content and multi-camera live TV. Wherever you are headed and whatever you need to shoot, let AMIRA be your companion.

AMIRA Features

Exceptional image quality

ALEXA image quality up to 200fps

Recording option up to 4K UHD

Dynamic range of 14+ stops and low noise

Natural skin tones and breathtaking color rendition

Optional ARRIRAW License

Single user ergonomics

Quick start-up – ready to shoot

Optimized for the single operator

Sliding dovetails – perfect shoulder balance

Internal ND filters (0.6/1.2/2.1)

OLED eyepiece and fold-away LCD monitor

Multi-channel audio – easy-access controls

Cost efficient in-camera grading

Preloaded/custom-built 3D LUTs and looks

Adjustable looks – total color control on set

ARRI Look Library support - a repertoire of 87 predefined creative color gradings, each in three intensities

High creativity, low postproduction costs

Huge variety of lens options

Rapidly interchangeable lens mounts

PL or LPL-Mount for cine-style lenses, including those compatible with the ARRI Lens Data System, which allows lens metadata to be recorded via the ARRI Electronic Control System

B4 lens mount permits the use of 2/3” video-style B4 lenses, while the PL to B4 adapter allows instant interchangeability between the two

Cinematic Multicam in HDR

AMIRA supports workflows for live multi-camera productions in HDR according to BT.2100

Hybrid Log Gamma (HLG) or Perceptual Quantizer (PQ)

Cost efficient multicast HDR and SDR workflow with HLG

Works with all AMIRA cameras and standard DTS camera chain components

Best HDR with ARRI cameras

Available for all AMIRA models, the Multicam mode makes the exceptional image quality of ARRI’s ALEV III sensor available to productions within the multi-camera broadcast sphere. Through a Multicam setup, the AMIRA’s shallow depth of field, unrivalled dynamic range and natural colorimetry can lend a cinematic look to live broadcasts, music concerts, TV soaps, and other fast-paced, multi-camera productions. At its core, Multicam is a simple and flexible interface that can be used with virtually any transmission system required. It allows the image parameters of multiple AMIRA cameras, including iris setting, to be controlled remotely using a Sony Remote Control Panel (RCP).

AMIRA Quotes

We love using the AMIRA Multicam, because of the outstanding images the AMIRAs capture - and the high-standard build of the camera. Technically, the DTS fiber system brings you all the features you expect, and so we can create a really good workflow.

Thomas Bischofer, Ruptly’s Head of Production, creating coverage for FIFA

I was shooting on the Amira which, generally speaking, for filming wildlife is my no. 1 choice. The accessibility of user buttons on the operator's side of the camera and the ability to switch frame rates so easily is essential when wildlife moments come and go in flash . I therefore need to be as quick as possible. Out of all the cameras I've used over the years, for me nothing comes close to the Amira on this front.

Tom Rowland, shooting WINTER FLOCKS for the Royal Society for the Protection of Birds, UK

I really love the versatility of the Amira. It creates beautiful images while being robust and well balanced. I've been playing around with the S16 mode with older Super16 glass which allows to me to get that depth of field and the look of Super 16 film. And then there’s the beautiful colors and the natural grain textures of the Alev lll sensor.

Having used the ALEXA and ALEXA Plus numerous times before, I was confident in what an ARRI product could do, and curious about the new AMIRA. After a brief testing period it quickly became clear that the AMIRA was going to be ideal for the shoot. I loved the camera and the footage we got from it was unreal; most importantly, myself and the director got exactly what we wanted.

Cinematographer Si Bell, shooting a feature film called TIGER RAID

We knew from the beginning that we would use many different cameras, but we wanted the lead camera to be the AMIRA because we love its natural and cinematic look. When it comes to images of people, especially faces, I haven’t seen anything that compares to that kind of quality.

Master Grip Support

The Master Grips provide a comfortable way of controlling EF, ENG and cine style lenses while holding the camera stable on the shoulder. Camera control functionality includes REC and user button access. The ability to adjust focus and iris of EF mount lenses using Master Grips allows for an interesting package solution for documentary and handheld operators, who prefer smaller EF lenses due to their weight and cost.

AMIRA FAQs

A sensor mode defines an aspect ratio, which defines the area on the sensor that is being captured. A recording format define what is being recorded in-camera in the file. So while a sensor mode defines a certain number of photosites on the sensor, those may be recorded straight or up or down-sampled to create the pixels of the recording format. A distribution format defines how the final product is delivered to the consumer. The contents in the recording format is often up or down-sampled, cropped, repositioned or rotated in post before it becomes the final distribution format.

An example: Choosing a 16:9 sensor mode on the camera allows the further choice of various recording formats. Choosing the 4K UHD recording format means that a 16:9 area from the sensor is read out, up-sampled in camera to a 4K UHD image and then recorded. In this case the recording format of 4K UHD is the same as the distribution format of 4K UHD.

ProRes 3.2K is a recording format that is quickly gaining popularity. It is being used on major TV series like Game of Thrones, on many Amazon projects and on various feature films. The reason is that it has a lower data rate than ProRes 4K UHD (in fact about 33% less data) and thus is less expensive to record on set and to process in post. It can then be used for an HD or 2K deliverable (with extra image area for re-sizing, rotating, re-framing or stabilizing) or, with only a slight up-sample, for a 4K UHD deliverable.